Early 1900s Art

Woodcut print realized by Lucien Pissarro to illustrate Gerard de Nerva's Hitoire de la Reine du Matin et des Soliman Princes des Genies. Hand signed Edition of 50 copies (41/50)

Work on canvas without frame Painter, illustrator born in 1875 in Geneva - Died in 1937

Frank Myers Boggs Nogent-le-Roi Signed and titled lower left Graphite and watercolor on paper 13 1/2 x 10 1/4 inches The Impressionist Frank Myers Boggs spent his formative and mat...

Original Saxoleine Petrole de Surete, artist Jules Cheret. Linen-backed turn-of-the-century original stone lithograph poster advertising Saxoleine, a lamp oil. The glow from this l...

Medium: original etching. This impression on wove paper was printed in 1908 and published in Paris for the Revue de l'art ancien et moderne. Plate size: 5 3/4 x 8 1/2 inches (143 x 2...

Medium: original etching and drypoint. Printed in 1909 and published in Paris by Henri Floury. Plate size: 8 1/4 x 5 5/8 inches (212 x 143 mm). Not signed.

Original Alphonse Mucha decorative panel. Linen backed in very good condition A-/B+ condition. This lovely poster looks just like an oil painting. It is a rare design by Alphonse ...

Medium: original etching and drypoint. Catalogue reference: Sanchez and Seydoux 1904-12. Printed in Paris and published in 1904 by Gazette des Beaux Arts. Plate size: 7 5/8 x 5 3/4 i...

Medium: original lithograph. Printed in Paris in 1902 for the special Felix Vallotton issue of L'Assiette au Beurre on the theme of Crimes et Chatiment...

Oil on canvas painting by the American artist, Charles Dormon Robinson. Signed lower left with the initials S.F. after signature. Perhaps, San Francisco. Unlined and unframed. Charles Dormon ROBINSON 1847 - 1933 Charles Dormon Robinson was born in East Monmouth, Maine on July 17, 1847. The Robinson family moved to Newport, Vermont shortly after the birth of Charles Dormon. In 1848 his father migrated to California followed by mother and child two years later. His father, Dr. David G. Robinson, was a theatrical producer and playwright who was responsible for constructing San Francisco's first theaters and the plays for their stages. The senior Robinson was a member of the Vigilance Committee...

Circa 1900 Signed lower right Sight size 12 x 18 in Overall size matted with period gold leaf frame 22 x 27.5 in

The Mills in Montmartre, Paris, 1907 Oil on wood panel signed (illegible) and dated "07" on the lower left 18 x 20 cm in good condition : a small inpainting visible on the left borde...

Charming early 20th century chromolithograph of young Dutch girls with their older instructor titled, "Dutch Girls" by Bernhardt T. Wall (American, 1889-195...

Beautiful proof of state on vélin, 4th state. Full margins. Ref. Cat. Salomon 98. Prov. Collection Henri Petiet, Paris.

Beautiful proof of state on vélin, 6th state, sanguine. Full margins. Ref. Cat. Salomon 98. Prov. Collection Henri Petiet, Paris.

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the ...

For sale is a captivating painting by the Swedish artist, Rikard Lindström (1882-1943). Depicting a picturesque water canal, with charming houses lini...

Came to America some time before 1844, when he was first listed in the Philadelphia directory. He may have been in NYC before this, since his wife, Eliza C. Bourquin, was born there ...

R. STONE Oil on Panel Painting Size: 6 x 12" (15 x 30cm) Outside Frame Size: 13 x 19" (32 x 47cm) Exhibited 1906 – 1909 Worked at the turn of the century, this artist painted hunt...

This etching with aquatint was created by French printmaker Manuel Robbe. Robbe’s innovative techniques, along with his sense of color harmony and his choice of subjects: stylish wom...

Marine painter Warren W. Sheppard was born in Greenwich, New Jersey, to a ship captain father who instilled in his son a love and respect for the sea. He studied privately with Mauritz F. H. De Haas and took courses in drawing at Cooper Union in New York City. He traveled along the Mediterranean coast in 1879, sketching the ports of Naples, Gibraltar, Genoa and Messina. Sheppard’s foreign tours continued between 1888 and 1893, with stays in Paris and Venice, where he captured the architecture and busy canals of the Floating City. This fondness for travel also translated to his home country. He sailed along the East Coast from New Jersey to Maine in search of subjects and was an expert navigator, eventually writing the book Practical Navigation. Yacht design became a second career for Sheppard and he participated in a number of sailing competitions himself, most notably winning the New York-to-Bermuda race twice while skipper of the Tamerlane. Sheppard exhibited at the Denver Exposition, Chicago Exposition...

This is an original drypoint and aquatint artwork by Jacques Villon. The artist signed in pencil on the lower right. As well as signed in plate at the top right of the image. This is a wonderful artwork of different intaglio processes being brought together in a beautiful almost seamless harmony. The thin pencil like markings and hair detailing are made using the Drypoint printmaking method. Whilst the color details around the girls are made using the Aquatint etching method. Jacques Villon shows his skills as a printmaker with the way these pieces line up perfectly and with how clean the rest of the plate is around the girls. Catalogue Raisonne E101, pg. 66-67 (Ginestet & Pouillon. It depicts two young girls. 15" x 11 1/2" art 25 1/8" x 20" frame French painter, printmaker and illustrator. The oldest of three brothers who became major 20th-century artists, including Raymond Duchamp-Villon and Marcel Duchamp, he learnt engraving at the age of 16 from his maternal grandfather, Emile-Frédéric Nicolle (1830-94), a ship-broker who was also a much appreciated amateur artist. In January 1894, having completed his studies at the Lycée Corneille in Rouen, he was sent to study at the Faculty of Law of the University of Paris, but within a year he was devoting most of his time to art, already contributing lithographs to Parisian illustrated newspapers such as Assiette au beurre. At this time he chose his pseudonym: Jack (subsequently Jacques) in homage to Alphonse Daudet’s novel Jack (1876) and Villon in appreciation of the 15th-century French poet François Villon...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. William Nicholson Clarendon Building, Oxford Signed, published by Stafford Gallery, with their blindstamp Lithograph 32x26cm Probably best known through his graphic works, as a book designer and illustrator, Nicholson was greatly encouraged in his landscapes by Whistler from about 1900. In 1902-03 he produced a series of watercolour, chalk and pen drawings of Oxford which were published in 1905 by the Stafford Gallery as two portfolios of lithographs, with descriptions by Arthur Waugh – father of Evelyn Waugh...

Frederick Vezin (1859 Torresdale Philadelphia - 1933 Düsseldorf), Autumn Landscape in the Sunlight, oil on canvas, mounted on cardboard, 32 x 41 cm (inside measurement), 44 x 51 cm (frame), signed and dates lower right "F. Vezin. [19]05". - Cardboard slightly curved, small inconspicuous retouch at the centre of the upper edge of the picture. About the artwork Although the painting appears to be a sketch, Frederick Vezin considered it to be a finished work of art, as evidenced by his signature on the lower right. And it is precisely this sketchy quality that leads to an understanding of the painting, which was certainly created in the landscape itself: the natural phenomena were to be depicted artistically at the moment of their observation. This is not done by meticulously sketching nature, but - and here Vezin follows the teaching of French Impressionism - by illustrating nature in its visual fullness. The artist's eye is, as it were, immersed in the visuality of nature, which is made visible by his hand. The painting is therefore not a reflection of the landscape, but its artistic intensification. This intensification also includes the fact that the foreground of the painting - corresponding to the field of vision - eludes a detail-oriented close-up view. Instead, the spatula-like application of paint, the vertical structure of which corresponds to the structure of the floral growth, has the effect of making nature tangible in its colourful substance. At the same time, the foreground, which remains indeterminate in its concrete objectivity, creates an atmospheric space that connects with the actual protagonist of the picture, the group of trees, which flares up in shades of red and brown. Here, too, the leaves are more speckled than clearly outlined. It is precisely this 'sketchiness' that opens up a visual experience that makes the landscape accessible in its visual fullness, thus revealing its essence. In addition to this abundance, the landscape is presented as a structure of order in that the composition of the picture makes the composition of the landscape visible. For example, the group of trees forms a distinct dark green shadow, which is repeated in the shadows cast by the trees behind it. A patterned diagonal axis is created in the picture, which is composed in this way by the landscape itself. Strictly speaking, this is a cultivated landscape: a fence at the bottom and a low stone wall at the top, running from left to right, are two elements that also have a strong compositional effect. And on the top of the hill, a stone house is embedded in the landscape as the brightest surface in the picture. Nature and culture here form a harmonious synthesis, giving the painting an Arcadian touch. In order to give the landscape as much space as possible, the horizon line is raised, but the design of the sky is also crucial. The clouds, combined with the shapes of the trees, create a bright blue sky. To the European eye, such a sky is reminiscent of a summer landscape. Accordingly, within the seasonal cycle, the blue sky is reserved for summer, and French Impressionism is also primarily an ode to summer. In Vezin's painting, however, the brilliant blue sky stands above an autumnal landscape, some of the trees even defoliated. It can therefore be assumed that the painting was made not in Europe but in the United States, and that it illustrates the proverbial Indian summer, making Frederick Vezin a pioneer of American landscape painting. About the artist Frederick Vezin was the son of a French immigrant to the United States and a German-born mother. This predestined him to promote artistic exchange between the old and new worlds. Having spent part of his schooling in Germany, in 1876, at the age of 20, he enrolled at the Düsseldorf Academy of Art, where he studied with Peter Janssen the Elder, Eduard von Gebhardt and Wilhelm Sohn, among others. He graduated in 1883, settled in Munich and returned to Düsseldorf in 1895, where he lived until his death in 1933. A native of the United States, he travelled to the country frequently and became a popular portrait and society painter. His artistic talent, however, was most evident in his landscape paintings. Trained in French Impressionism, he developed a virtuoso use of colour and a free brushwork that remained tied to the landscape motif, opening up the landscape itself in a new way. Frederick Vezin turned his attention primarily to the landscape of his homeland, becoming a pioneer of modern American landscape...

Medium: original etching. Catalogue reference: Beraldi 14. This impression on chine colle paper was published by the Gazette des Beaux-Arts in 1903. Plate size: 2 1/2 x 2 1/8 inches ...

Alphonse Mucha's name shines like that of a visionary artist who left an indelible mark on the aesthetics of the early 20th century. The year 1902 saw the publication of "Documents d...

Venus in Muschelwagen is a superb black and white etching on paper, realized in 1907 by the German artist Eduard Einschlag (Leipzig 1879 -1945), after Max Klinger (Leipzig 1857 - Gro...

Woodcut print realized by Lucien Pissarro to illustrate Gerard de Nerva's Hitoire de la Reine du Matin et des Soliman Princes des Genies. Hand signed Edition of 50 copies (41/50)

English hawk moth chromolithograph, circa 1900. Plate number top right. From an English series of illustrations of butterflies and moths. Butterflies / moths are numbered and there i...

English moth chromolithograph, circa 1900. Plate number top right. From an English series of illustrations of butterflies and moths. Butterflies / moths are numbered and there is an ...

Wonderful watercolor depicting a plant/flower. These were used at a Belgium University to teach the students about botany. Dating from the early 20th century. They are watercolor on ...

Work on cardboard Golden wooden frame 43.5 x 36 x 3 cm

Emile GALLE Tall Cameo Glass Vase with Umbels ornaments Crafted in Nancy (Lorraine) c. 1905 Bearing Galle signature in cameo Made of white opalesce...

A shallow naturalistic bowl with organic bone-like design elements and a mottled glaze of blue, gray, and green. Stamped Amphora in the base, and numbered; added RStK bottom marking ...

Corp assis avec veilage is an original artwork realized between the 19th century and the 29th Century by Lionel Noel Royer. Double pencil drawing signed on tracing paper, the other on gray Canson sheet. Dimensions: 18 x 27.6 cm / 21.5 x 27.8 cm The artwork includes a couple of female nudes sketch...

Listing includes framing with UV plexiglas, free shipping and a 14 day return policy. Lora Webb Nichols Sweet Peas, 1907 15 x 12 inch gelatin silver print Image Size: 14 x 8.5 inches Frame size: 22.5 x 17.5 x 2 Edition of 15 Lora Webb Nichols was born in 1883 and grew up in the small mining town of Encampment, Wyoming. At the age of 16 Lora received her first camera and from that moment and for the next few decades she produced work that is both stunning in its singular voice and revealing in the world it opens up for us. At first Nichols photographed her family, friends, and the landscape around Encampment, but when the town experienced a copper mining boom Nichols expanded her scope to become a photographer for hire shooting portraits and industrial photographs. When the boom collapsed, Nichols took the risk of opening her own business in Encampment - The Rocky Mountain Studio - which opened in 1925. The studio ran for ten years, accumulating 24,000 negatives that illustrate the lives and environment of the people living in and around the town while creating a distinctive and surprising body of work. If one was to attempt an analogy – Nichols’ pictures fit somewhere between Lartigue and Lange - joyful and generous while objectively intimate. In particular what seems to distinguish Nichols’ work is the way she sees the world from a female perspective. As Vince Aletti...

Lithograph of Symbolist painter Carlos Schwabe’s oil painting La mort du fossoyeur (The Death of the Gravedigger), 1895, published c. 1900 in Art et déc...

Jules Cheret (1836-1932) A couple, 1909 signed and dated in the lower right Charcoal and heightenings of white chalk 23 x 23 cm Framed under glass : 33.8 x 33.8 cm This work is hi...

Skillful pencil landscape drawing of travelers on the road bordering the small town of Villers-Saint-Paul north of Paris,France by artist Diogène Ulysse N. Maillart (1840-1926), 1908...

Love and Death (after George Frederic Watts, R.A., H.R.C.A. 1817 - 1904). 1900. Mezzotint. Hardie 71 between i and ii. 24 1/2 x 12 (sheet 27 1/4 x 13 3/ 8). Edition 350 in state one. London, Published May 1st 1900 by Robert Dunthorne ,5 Vigo Street, London W. Rubbing and discoloration from a previous mat in the margins, well outside the image. A rich proof printed on Japon paper. Signed in pencil by Watts and by Short. Housed in an archival folder ------------------------------------------------------------------------------------------------------- Winged Love...

Beautiful poster of the beginning of the XIXth century by Dudley Hardy : An Artist's Model - George Edwardes company Dudley Hardy (1867 - 1922) was an English painter and illustrator. His interest in illustration led him to produce posters of French graphic influence, including the Yellow Girl...

Work on canvas

The 1902 original poster titled "La Marine Japonaise" (The Japanese Navy) is a striking visual representation of Japan's naval strength and prowess during the early 20th century, a p...

English butterfly chromolithograph, circa 1900. Plate number top right. From an English series of illustrations of butterflies and moths. Butterflies / moths are numbered and there i...

This circa 1900 original poster, designed by Smiley, captures the essence of the legendary Bal Tabarin, one of Paris’ most extravagant and notorious cabarets. Located in the heart of...

Work on paper This work illustrates a vibrant branch of flowers, showcasing shades of bright red and soft green. The artist has precisely captured the delicacy of the undulating pet...

The 1905 original poster La Race Maudite by Bruno, published by Le Petit Patriote, is a stark artifact of early 20th-century propaganda. This inflammatory piece reflects the intense ...

Sadness is an etching realized by Albert Besnard in 1909. Etching ex. 6/30. Slab dimension cm. 15 x 9,5. paper cm. 25 x 18. Pencil signature and date in the lower right part, date in the left part. Good conditions. Paul Albert Besnard (Parigi 1849 - 1934)born in Paris, was the son of an artist; his father, Louis Adolphe, was a painter and his mother, Louise Pauline Vaillant, was an esteemed miniaturist, a pupil of Lizinska de Mirbel. Besnard first studied drawing and painting with Jean-François Brémond and at 17 entered the École des Beaux-Arts, where he was taught by Alexandre Cabanel. In 1874 he won the Prix de Rome with the canvas "Death of Timofane, tyrant of Corinth", and during his stay at Villa Medici he had the opportunity to meet Franz Liszt and his pupil André Worsmer, whose portrait he painted in 1877. his stay in Italy and, in 1879he married the sculptor Charlotte Dubray, daughter of the sculptor Gabriel-Vital Dubray, with whom he moved to England for three years, until 1884, exhibiting at the Royal Academy of Arts in London. At the Paris Salon of 1886 his "Portrait of Madame Roger Jourdain...

WILLIAM KAY BLACKLOCK A.R.C.A., 1872 - 1922 Popular Scottish artist who lived in Hemmingford and Walberswick. A regular exhibitor. Original oil on board, 8.5 x 11 inches. Frame si...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. William Nicholson (1872 - 1949) Front Quad, Wadham College...

Peaceful watercolor landscape painting of a country farm scene with hay stacks by artist Evelyn Coombe, 1906. Signed and dated lower left Original artwork ...

Royal Ulhans Regiment of Tsar Nicholas II is a silver bromide print applied on cardboard. High quality print made by the famous court photographer Ka...

Emile TRONCY Sétif (Algeria), 1859 - Marseille, Bouches-du-Rhône, 1943 Oil on canvas Around 1910 Signed lower left “E. Troncy” 42 x 33 cm (58 x 50 cm with the frame) Stamp of the mer...

Dreamy watercolor landscape of a figure heading to the shore to fetch water under a dazzling sky, circa 1910. Original artwork on paper displa...

Mary Brewster Hazelton American, 1868-1953 Hillside in Autumn Oil on canvas 20 by 24 in, w/ frame 29 ½ by 33 ¼ in Signed and dated 1908 lower left Mary Brewster Hazelton was a dist...

Woman in an Interior is a pencil drawing realized by Claudin Felix in 1890. Good condition on a brown paper included a white cardboard passpartout (25x16 cm). No signature.

This early 20th-century propaganda poster, titled Les Sans-Patrie… Voilà l’Ennemi! (The Stateless… Here is the Enemy!), is a striking testament to the heated nationalist and anti-republican sentiments that surged in France in the years leading up to World War I. Created by E. Millo and published by Le Petit Patriote, the poster presents an impassioned defense of French patriotism while identifying internal enemies—those deemed to lack allegiance to the nation. At the time of its creation, France was deeply divided between nationalists and republicans, between those who saw France as a Catholic, traditionalist nation and those who pushed for a secular, progressive Republic. The Dreyfus Affair (1894–1906) had left the country bitterly fractured, with intense debates over loyalty, national identity, and military values. This poster embodies the sentiments of right-wing conservatives who viewed the Republic’s secularism, its tolerance of political opposition, and its social reforms as signs of national decay. The target of their ire was the so-called Sans-Patrie—those accused of betraying France by undermining its traditional values. The poster’s dramatic black-and-white illustration is designed to evoke strong patriotic emotions. At its center stands a personification of France, likely inspired by Marianne, the symbolic female figure representing the French Republic. She holds a French flag and a sword, embodying strength and resistance against the perceived enemies of the nation. Surrounding her are figures from different walks of life—workers, mothers, soldiers, and historical figures—suggesting that true French citizens stand together against those who would weaken the country. The bold headline, “Les Sans-Patrie… Voilà l’Ennemi!”, leaves no room for ambiguity. It directly accuses those who lack national loyalty as traitors, rallying "true" French citizens to defend the homeland. The text addresses “Aux Vrais Français” (To True French People), making a direct appeal to patriotic sentiment. It warns readers about anti-national forces, particularly socialists, internationalists, and secularists, who are accused of corrupting French youth, undermining the military, and weakening national unity. Among its claims, the poster states that: French schools are being used to indoctrinate children against patriotism. Military service, a key element of national strength, is under attack by those who wish to weaken France. The nation’s historical heroes and martyrs are being forgotten, replaced by values that do not serve the country’s survival. The final rallying cry at the bottom, “À bas les sans-patrie & Vive la France...

Alphonse Mucha's name shines like that of a visionary artist who left an indelible mark on the aesthetics of the early 20th century. The year 1902 saw the publication of "Documents d...